Location: Australia
1969-72 Diploma in Film Technique (London film school)
1975- Migrated to Australia
1975-82 Worked as cinematographer of documentaries and short dramas.
1976 & 79 Director and Cinematographer of conceptual films:
"Waiting, for What?", 42 minutes; and "Feeling for Balance", 80 minutes
1974-94 Photographic exploration: overlaying of images and fusion of realities
1984-95 Painting excursions in Australia: West Macdonald Ranges, Olgas, Rainbow Valley, Lake Mungo, Flinder's Ranges
1986-95 Working at various studios, developing skills in paintings and design.
1995-99 Designing and fabricating kinetic sculptures.
1998–03 Gaining Computer skills. Creating digital images and sound scapes.
2001-02 Life drawing at the Globe. Co designing my website : www.isitlike.com
2003-4 Trips to Israel: Drawing (150 approx) street scenes, landscapes and family portraits.
2001-5 Playing on kurzwiel keyboard, editing and rearranging with computer program to
create music compositions. Designing Nussinov Gallery website
2006 Establishing a permanent working studio /gallery at 56 Cope St, Redfern
Grants: Australian Film commission- Experimental film fund (1976),
Creative development fund (1979).
Prizes: 2004 Kao international kinetic Art Competition – third prize / 2005 Art addiction - honorable award / 2008 Sculptors Society Plinth prize /
2009 Sculptors Society – Pricewaterhouse-cooper Prize / 2011 Transfield Holding- Found Object prize / 2011 IPA (International Photography Awards )– honorable mention/ 2012 Transfield Holding- Found Object prize/ 2012 IPA – honorable mention
EXHIBITIONS
1988 Begg Lane Studio, Sydney - 'Transformation'
1990 Libby Edwards, Melbourne -'Fruit of the brush' The wall gallery, Sydney - 'Landscape', Begg Lane Studio, Sydney- 'Photo Art'
1991 Hotel continental, Sydney - 'Figures in Landscapes'
1992 ‘'Where do you want to go?’- Selected for the Sulman exhibition NSW Art Gallery. Still Gallery, Paddington - Photographs
1993 Avoca Gallery, Kincumber- 'Figurative paintings'
Howard Leonard Gallery, Sydney - Paintings, photos, installations.
1995 Gallery Nakai, Kyoto, Japan - 'Dreamscapes'
1997 Mann Auditorium, Tel Aviv, Israel - 'Between Reality and Dream'
1998-9 Art in public places-Exhibiting sculptures in Glebe Park, Centennial Park
1999 Downing Center, Sydney - Paintings and Installation works
2000 Jones Bay Warf– Pyrmont –‘Transforming spaces’, Sculpture, paintings & photographs
2001 The Globe – Marrickville – Open studio
2002 Sculpture by the Sea – Bondi, Australia -Click Clak troupe -
2004 Washhouse Gallery, Rozelle – ‘Light of Darkness’
2005 Sala Barna , Barcelona, Spain – ‘Drapes of tissues’
Since 2005 Online Exhibitions at: www.nussinovgallery.com.au
2006 Nussinov Gallery, Redfern, Australia – ‘Mixed artworks’
2007 Chosen to participate at ‘Drawing together’ Canberra, Australia
Nussinov Gallery, Sydney ‘Elusive perspectives’
2008 Exhibiting with the Sculpture Society Chiefly Tower and Governor Philip foyer, Sydney
2009 Nussinov gallery, Sydney ‘Shifting arrangements’
2010 Nussinov gallery, Sydney ‘Between the layers’ Photo composites
Finalist at Woollhara Small Sculpture Prize.
Exhibiting with Sculptors Society
2011 Finalist at Fisher’s Ghost art award
Sculptors society the Tower, Darling Park .
2012 Sculptors society Darling Park, 2020 at Damien Minton
Annex
Contact: info@nussinovgallery.com.au
Mobile: 0413 592940
Web: www.nussinovgallery.com.au
In this exhibition of ‘photo composites’ Nussinov has also drawn from his own stock library of hundreds of images. He has assembled them digitally, to create imaginary scenes of life within the urban and natural environment. Working with hand drawing techniques and computer digital technologies a composite artwork is created, that is both atmospheric and evocative, elusive as to whether it is a photograph, a print or a painting.
The connections are both subliminal and real. Time shifts through the composites revealing the artist’s life at the same time as the community around him.
Named ‘Between the Layers’, the works present a world of ambiguity, transience and illusion, of recognised and abstracted scenes embedded in perspectives, to illustrate different relationships. At all times the viewer is challenged to unfold the mystery, to explore and discover.
“Invoking the spirit”
